Korean Music

Japanese: 朝鮮音楽 - ちょうせんおんがく

While the Korean Peninsula was influenced by China's instrument system and musical theory, it always promoted the domestication of this foreign music, and formed its own unique musical culture, featuring a rich sense of rhythm in the 3/4 time system, mournful melodies, and a bass-oriented style of instruments and vocalization not seen in neighboring China or Japan. The music of the Three Kingdoms of Goguryeo, Baekje, and Silla had a great influence on Japan.

[Tetsuo Shimura]

history

Before the Three Kingdoms Period

Records of music from this period can be found in the Chinese historical text Records of the Three Kingdoms (established in the second half of the 3rd century) in the "Weishu Dongyi Zhuan." In Mahan during the Three Han period, there was a custom of worshiping demons, singing, dancing and drinking alcohol when farming. This custom was popular among the ancient tribal nations, and was called Yinggu in Buyeo, Buten in Wi, and Dongmen in Goguryeo. These had strong shamanistic elements, and their music is considered to be the origin of today's farm music, which is danced to percussion instruments. In addition, Han culture flowed into the four Han counties, including Lelang County, and it is inferred from murals at the Angak Tomb and other sites that musical instruments such as the zither, flute and drum were also introduced.

[Tetsuo Shimura]

Three Kingdoms period (4th century to mid-7th century)

During this period, when Goguryeo, Baekje, and Silla were in a three-state conflict, exchanges with China became more frequent, but each of the three kingdoms developed with its own distinctive characteristics. According to the "Samguk Sagi," the oldest surviving historical book in Korea, Wang Sanak of Goguryeo created the Xuanqin (Xuanqin) based on the Chinese zither and composed over 100 pieces for it. The Xuanqin is a representative Korean stringed instrument, and what is thought to be its prototype is depicted in murals at the Angak Tomb and the Mudanzuka Tomb (Tonggou, Ji'an City, Jilin Province, China). Goguryeo's music was the most refined of the three kingdoms, and during the Sui and Tang dynasties it was presented to China when it made tributes to the court, and was also incorporated into the Kubuki and Jubuki as Goryeo music. In addition to unique instruments such as the peach skin hichiriki and gishi flute, there were 14 other instruments including the kugo and biwa.

Baekje music uses instruments such as the koto, harp, bamboo stick, chi, and drum, and the records of Baekje musicians' succession in the Nihon Shoki indicate that it was already introduced to Japan in the 6th century. In 612 (the 20th year of the reign of Empress Suiko), Mimashi of Baekje brought gigaku, which he had learned in the Chinese state of Wu, to Japan and taught it to young boys in Sakurai, Nara.

Silla music was centered around the Gayageum and dance. The Gayageum was made by King Gashil of Gaya, who ordered the musician Uruk to compose 12 pieces, but Uruk was sent to Silla when Gaya was annexed by Silla in 562. As it was through Silla that it was brought to Japan, it came to be called the Silla Geum, and is still preserved as a treasure in the Shosoin Repository. Music from these three countries was brought to Japan, where it was performed along with national songs and dances and Tang music at the Gagaku Bureau, which was established by the Taiho Law.

[Tetsuo Shimura]

Unified Silla Period (until the early 10th century)

With the unification of the country, the music of the three kingdoms was also unified, and the Soundseo was established as the government office in charge of music. According to the "Samguk Sagi," Silla music was enriched by using the three bamboos (large, middle, and small wind instruments), the three stringed instruments (xuanggeum, gayageum, and biwa), clappers, and drums, and by adopting the names of musical tunes and the costume system of dancers from the Tang Dynasty. Music and dances from the Western Regions were also performed, and in "Five Poems on Miscellaneous Songs of Hyanggaku" by Choi Chiwon (857-?), a scholar from the late Silla period, there is a name such as "Daemian," which is thought to correspond to the Japanese bugaku "Ranryo-o." In the 7th and 8th centuries, Buddhist Buddhist music and dances, as well as sword dances, were created.

[Tetsuo Shimura]

Goryeo period (until the late 14th century)

Music from this period is divided into Gagaku, Tang music, and Kyogaku (popular music). In 1116 (the 11th year of the reign of Emperor Rui), Emperor Huizong of Song presented Daeseong Gagaku and other gagaku instruments such as the panchong, pankei, gyo, and shuku, which were used as music for the ancestral shrines of Goryeo, as well as for the ceremonial music of Enkyu, Shashoku, Xiannong, and King Munxuan (Confucius). Towards the end of the reign, musicians were scattered in all directions due to the Mongol invasion, and Gagaku fell into decline. During the reign of King Gongyang (reigned 1389-1392), he established the Gagaku Office and worked to improve Gagaku. As for Tang music, Song's Shigaku was introduced during this period. The "Music" section of the "History of Goryeo" contains the lyrics of 43 pieces of shigaku, of which two, "Lakyoshun" and "Hokyosi", have been handed down to the present day. As the Silla style of hyanggaku disappeared, Goryeo's unique song style emerged, and many songs, such as the large-scale "Cheongsanbyeokgok" and "Seigyongbyeokgok" with interludes and postludes, were created. In addition to the sanxian and sanbamboo of Silla music, instruments such as the jōko and haegeum came to be used, and various orchestral ensembles were performed, and masked plays and puppet shows also appeared among the people.

[Tetsuo Shimura]

Yi Dynasty (until 1910)

Until then, music had been the focus of the court nobility, but in the Joseon dynasty, new folk music became more popular and took on a stronger ethnic flavor. In 1392 (the 1st year of the reign of Taejo), the Gagakuseo and Jeonakseo were established to organize the ceremonies of the Confucian temple, and gagaku was given the utmost importance based on Confucian ideas of ceremonial music, with scores of gagaku for ceremonies also being established. In particular, under King Sejong (reigned 1418-1450), the first measured score in East Asia, Jeongganpu, was invented, and Pak Jun (1377-1458) established a system of gagaku at the court based on the gagaku system of the Tang dynasty. Based on the existing Hyangak and Guduak music, new Hyangak in the form of suites, such as "Jeongdaegyo" and "Hotaepyeong," were created, which were later adopted for the ceremonial music of the Jongmyo (the shrine of the kings of the Joseon dynasty), and continue to be used to this day. In addition, songs such as "Ryuhigyotenka" were written, and new pieces such as "Chiwahei" and "Yomiraku" were composed to accompany them, and these gradually became purely instrumental pieces. Another noteworthy event was the compilation of the "Gakhakgiban" by Seonghyeon and others in 1493 (the 24th year of King Seongjong's reign). This is the greatest book on music in Korea, and an important document that is indispensable to the study of Korean music.

Later, music declined and the scale of gagaku was reduced due to foreign invasions such as the Imjin War (1592-1598) and the Heishikoran (1636-1637) by the Jurchen people. Songs accompanied by wind and string instruments became popular after the 18th century, and vocal music such as sijo, which was derived from songs, appeared. On the other hand, as music for the common people, pansori (storytelling drama) was born from shaman's music in the mid-18th century, and famous stories such as "The Story of Chunhyang" and "The Story of Simcheong" are still loved today. Also, at the end of the 19th century, individual instruments became independent from the Sinawi (instrumental ensemble), the music that accompanied shamans' singing and dancing, and the solo pieces Gayageum Sanjo and Hyeongeum Sanjo were born, which became the most artistic form of folk music.

[Tetsuo Shimura]

Modern times (1910 onwards)

After the annexation of Korea, the colonial policy of the Government-General of Korea extended to music and the arts, and gagaku was on the verge of extinction, but the Yi Royal Office Gagaku Department was established, and only the rite music of the Munmyo and Jongmyo Shrines remained. After World War II, the country was divided into North and South Korea, but in the north, the research laboratory of the Folk Arts Theater and the Folk Music Research Institute, and in the south, Korea (Republic of Korea), the National Gugak Center of Korea and the gagaku departments of various music universities are focusing on the research, preservation and transmission of traditional music.

[Tetsuo Shimura]

Musical Features

Korean music is often based on a triple-beat rhythm, as exemplified by folk songs such as "Arirang" and "Doraji." Long and short rhythms (changdan = rhythm pattern) are the basis of the rhythm of the music, and in the suite-style music of "shanggaku" (single-string) and "sanjo" (single-chord) the subtle changes in long and short rhythms, as well as the subtle changes in the melody caused by vibrato and ornamental sounds called "rogen" and "yosei," create an atmosphere unique to Korean music. The scale is mainly pentatonic, and there are two modes, Heichou and Kaimencho.

[Tetsuo Shimura]

"Korean Culture Selection 9: Traditional Korean Music" by Chang Shihun (1984, Seika Shobo)" ▽ "The Song of Arirang" by Kusano Taeko (1984, Hakusuisha) ▽ "Studies on the East Asian Koto" by Mitani Yoko (1980, Zen-On Music Publishers) ▽ "Music of the Ancient Silk Road" by Kishibe Shigeo (1982, Kodansha)"

Classification of Korean music (traditional music)
©Shogakukan ">

Classification of Korean music (traditional music)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

朝鮮半島は、中国の楽器制度や音楽理論の影響を受けながらも、つねにそれら外来音楽の郷楽化（自国化）を推し進め、隣接の中国や日本にはみられない三拍子系統の変化に富んだリズム感や哀調を帯びた旋律線、それに楽器や発声法に認められる低音志向など、独自の音楽文化を形成し、高句麗(こうくり)・百済(くだら)・新羅(しらぎ)の三国楽は、日本に多大の影響を及ぼした。

［志村哲男］

歴史

三国時代以前

この時代の音楽に関する記録は、中国の史書『三国志』（3世紀後半成立）の「魏書東夷(ぎしょとうい)伝」にみられる。三韓時代の馬韓(ばかん)では、農耕に際して鬼神を祭り歌舞飲酒する習俗があり、古代諸部族国家の間で盛んに行われ、扶余(ふよ)では迎鼓(げいこ)、濊(わい)では舞天、高句麗では東盟とよばれていた。これらはシャーマニズム的要素の濃いもので、その音楽は、打楽器を中心に踊る今日の農楽の起源と考えられる。また、楽浪(らくろう)郡などの漢の四郡には漢文化が流入し、琴(きん)・笛(てき)・鼓(こ)などの楽器も伝来していたことが、安岳(あんがく)古墳などの壁画によって推察される。

［志村哲男］

三国時代（4世紀～7世紀中期）

高句麗・百済・新羅が鼎立(ていりつ)したこの時代は、中国との交流が盛んになるが、三国がそれぞれ特色をもちながら発展した。朝鮮に現存する最古の歴史書『三国史記』によると、高句麗では王山岳(おうさんがく)が中国の琴をもとに玄琴(げんきん)（コムンコ）をつくり、この楽器のために100余曲を作曲したとある。玄琴は代表的な朝鮮の弦楽器で、この原型と思われるものが安岳古墳や舞踊塚古墳（中国吉林(きつりん)省集安市通溝）の壁画に描かれている。高句麗の音楽は三国のなかでももっとも整ったもので、隋(ずい)代・唐代には中国に朝献する際に献上され、高麗伎として九部伎・十部伎にも編入された。桃皮篳篥(とうひひちりき)、義觜(ぎし)笛などの特有の楽器のほか、箜篌(くご)、琵琶(びわ)など14種の楽器があった。

　百済の音楽は、箜篌、箏(そう)、竿(う)、(ち)、鼓(こ)などの楽器を使用し、『日本書紀』記載の百済楽人の交替記録によって、6世紀にはすでに日本に伝わっていたことがわかる。そして612年（推古(すいこ)天皇20）には百済の味摩之(みまし)が、中国の呉(ご)の国で習った伎楽を日本に伝え、奈良の桜井で少年たちに教授した。

　新羅楽は、伽倻琴(かやきん)と舞が中心であった。この伽倻琴は、伽倻（加羅）国の嘉実王(かじつおう)がつくり、楽師于勒(うろく)に命じて12曲を作曲させたが、同国の新羅併合（562）により于勒は新羅に投じ、新羅を通じて日本に伝来したため新羅琴(しらぎごと)とよばれ、現在も正倉院宝物として保存されている。以上の三国の音楽は日本にも渡来し、大宝令(たいほうりょう)で定められた雅楽寮(うたまいのつかさ)で、国風歌舞や唐楽とともに演奏された。

［志村哲男］

統一新羅時代（10世紀前期まで）

国家統一とともに三国の楽も統一され、音楽をつかさどる官庁として音声署が設置された。『三国史記』によれば、三竹（大笒・中笒・小笒―管楽器）、三弦（玄琴・伽倻琴・琵琶―弦楽器）、拍板、太鼓の楽器を用い、唐の楽調名や舞人の衣装制度を採用して新羅楽は充実していった。また、西域(せいいき)伝来の楽舞も行われ、新羅末期の文人崔致遠(さいちえん)（857―？）の『郷楽雑詠五首』には、日本の舞楽『蘭陵王(らんりょうおう)』に該当すると思われる「大面」などの名もみえる。7、8世紀には、梵唄(ぼんばい)（声明(しょうみょう)）やその他の仏教楽舞、剣器舞などもつくられた。

［志村哲男］

高麗時代（14世紀後期まで）

この時代の音楽は雅楽、唐楽、郷楽(きょうがく)（俗楽）に区分される。雅楽では、1116年（睿宗(えいそう)11）宋(そう)の徽宗(きそう)から大晟(たいせい)雅楽と編鐘・編磬(へんけい)・敔(ぎょ)・柷(しゅく)などの雅楽器が贈られ、高麗の宗廟(びょう)のほか、圜丘(えんきゅう)・社稷(しゃしょく)・先農や文宣王（孔子）などの祭祀(さいし)音楽として用いられた。末期には蒙古(もうこ)襲来によって楽工が四散し雅楽が衰微したため、恭譲王（在位1389～1392）のときに雅楽署を設け、雅楽の整備に努めた。唐楽としては、この時期に宋(そう)の詞楽が伝来した。『高麗史』の「楽志」には43編の詞楽の歌詞が記載されているが、そのうち『洛陽春(らくようしゅん)』『歩虚子(ほきょし)』の二曲が現在まで伝承されている。郷楽は、新羅の歌曲形式の郷歌が消滅し、高麗独特の歌曲形式が出現、間奏や後奏を伴う大規模な『青山別曲(せいざんべっきょく)』『西京(さいきょう)別曲』などの多くの歌曲がつくられた。また、新羅楽の三弦と三竹に杖鼓(じょうこ)、奚琴(けいきん)などの楽器が加えられて多彩な管弦合奏が行われるようになり、民間では仮面劇や人形劇も現れた。

［志村哲男］

李朝時代（1910年まで）

これまで宮廷貴族が音楽の中心であったが、李朝になると新しい民俗音楽が活発となり、民族色を濃くしていった。1392年（太祖1）雅楽署と典楽署が設置され、文廟（孔子廟）の祭儀を整え、儒教の礼楽思想に基づいて雅楽がもっとも重視され、祭礼用雅楽譜も制定された。とくに世宗（在位1418～1450）のときには東アジア最初の定量楽譜である井間譜(せいかんふ)が創案され、また朴堧(ぼくせん)（1377―1458）は唐代雅楽制度に倣って宮中雅楽の制度を整えた。従来の郷楽や鼓吹楽に基づき、『定大業(ていだいぎょう)』『保太平(ほたいへい)』といった組曲形式の新しい郷楽がつくられたが、これはのちに宗廟（李朝歴代王の廟）の祭礼楽にも採用され、現在に至っている。また『竜飛御天歌(りゅうひぎょてんか)』などの歌曲がつくられ、これにつける新楽曲として『致和平(ちわへい)』『与民楽(よみんらく)』などが作曲され、これらはしだいに純器楽曲となった。もう一つの特筆すべきことは、1493年（成宗24）勅命により成俔(せいけん)らによって『楽学軌範』が編纂(へんさん)されたことである。これは朝鮮最高の楽書であり、朝鮮音楽研究に不可欠の重要な文献である。

　その後は、壬辰倭乱(じんしんわらん)（文禄(ぶんろく)・慶長(けいちょう)の役、1592～1598）と丙子胡乱(へいしこらん)（女真族の侵入、1636～1637）の外敵の侵入により音楽も衰退し、雅楽の規模も縮小された。管絃(かんげん)伴奏の歌曲（カゴク）は18世紀以後に盛んになり、そのほか歌曲から派生した時調（シジョ）などの声楽曲が現れた。他方、庶民の音楽として、18世紀中期にはシャーマンの音楽である巫歌(ふか)からパンソリ（唱劇）という語物(かたりもの)音楽が生まれ、『春香伝(しゅんこうでん)』『沈清伝(ちんせいでん)』などの有名な物語が現在も愛好されている。また19世紀末には、シャーマンの歌舞の伴奏音楽シナウィ（器楽合奏）から各楽器が独立し、伽倻琴散調（サンジョ）や玄琴散調の独奏曲が生まれ、これはもっとも芸術性の高い民俗音楽となった。

［志村哲男］

現代（1910年以降）

韓国併合以後、朝鮮総督府の植民地政策は音楽・芸術にまで及び、雅楽は滅亡に瀕(ひん)したが、李王職雅楽部が設置され、文廟と宗廟の祭礼楽のみが残った。第二次世界大戦後、国土は南北に分断されたが、北の北朝鮮では民族芸術劇場の調査研究室や民族音楽研究所で、南の韓国（大韓民国）では韓国国立国楽院や各音楽大学の国楽科などを中心に、伝統音楽の研究や保存、その伝承に力を入れている。

［志村哲男］

音楽的特徴

『アリラン』や『トラジ』などの民謡で代表されるように、朝鮮音楽のリズムは三拍子系統のものが多い。長短（チャンダン＝リズム・パターン）が楽曲のリズムの基本になり、組曲形式の正楽(せいがく)や散調の音楽においては、しだいに早まる長短の変化の妙と、弄弦(ろうげん)・揺声(ようせい)とよばれるビブラートや装飾音が旋律に微妙な変化をつけ、朝鮮音楽独特の雰囲気をつくりだす。音階は五音音階が主で、平調(へいちょう)と界面調(かいめんちょう)の二旋法がある。

［志村哲男］

『張師勛著『韓国文化選書9　韓国の伝統音楽』（1984・成甲書房）』▽『草野妙子著『アリランの歌』（1984・白水社）』▽『三谷陽子著『東アジア琴箏の研究』（1980・全音楽譜出版社）』▽『岸辺成雄著『古代シルクロードの音楽』（1982・講談社）』

朝鮮音楽の分類（伝統音楽）

出典　小学館　日本大百科全書(ニッポニカ)日本大百科全書(ニッポニカ)について　情報 | 凡例

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